When the Football World Cup starts on 12th of June, the whole world will look to Brazil. In contrast, the fact that there a military coup occurred exactly 50 years ago, barely attracted attention internationally.

In the four-part film documentary „Memórias do Chumbo – O Futebol nos Tempos do Condor” (2013 ), the Brazilian director Lúcio de Castro is addressing to the influence of the military dictatorships in Brazil, Chile, Argentina and Uruguay on football. The two chapters on Brazil and Chile had just been shown at the „11mm” Football Film Festival in Berlin. The military rule in Brazil (1964-1985) may have provoked significantly fewer deaths and disappearances than those in Chile (1973-1990) and Argentina (1976-1983), but the documentaries show nevertheless the inspiring nature of the authoritarian regime in Brazil – also in the influencing and instrumentalization of football.

Quickly after the coup in 1964 the military in Brazil took over important functions, at the Brazilian Football Federation CBF as well as in the clubs. General Médici finally celebrated Brazil´s third world title in 1970 as a „confirmation of the Brazilian people” and identified the „victory in athletic competition with the principles that we are to love in our struggle for national development”. Afonsinho, the „gentle rebel of Brazilian football” (so the German newspaper -taz-), reported in the documentary about the harsh rules back then. He got into trouble just because he wore long hair and a beard and did not wanted to be treated like a bond-slave. The involvement between the regime and the football, however, went further – even so far that the Brazilian ex-footballer Didí Pedalada was involved in the kidnapping of opposition Chileans in Porto Alegre as part of a „Operation Condor” action.

In Chile it was above all one event that forever put a shadow over football in the years of the dictatorship: The National Stadium of Santiago de Chile was converted immediately after the coup against Salvador Allende in 1973 into a prison, where the military tortured and murdered for months. But here some footballers offered resistance, too. The most famous is Carlos Caszely: At a meeting of the national team with Augusto Pinochet, he refused a handshake with the dictator. Caszely happened nothing because of his spontaneous refusal, but his mother fell into the hands of torturers afterwords.

At the 11th edition of the „11mm” Film Festival, Brazil was one of the focal points ´cause of the upcoming World Cup. And the organizers were able to provide aesthetically more interesting material than the occasionally a bit solemnly made tetralogy „Memórias do Chumbo”: „11mm” presented with the Canal 100 a legendary newsreel format from Brazil. Since the late 50s, it has set new standards in the visual presentation of football. „We were in Brazil the first, who filmed with ten cameras in the stadiums”, said Alexandre Niemeyer, the son of Canal 100 founder Carlos Niemeyer, during the presentation at cinema Babylon in Berlin.

A significant part of the Canal 100 material are scenes in black and white, which are played in a kind of super slow motion. This increases the dramatic action on the pitch, without estheticizing it to much. Particular is also the camera perspective: Often it is filmed from below, and the turf takes a lot of the screen. There footballers legs trying to win the ball, and in the presented slow downed viewing can be observed amazing synchronous movements in situations with maximum physical tension.

In addition, the Canal 100 documentaries such as „Brasil bom da bola” or „Futebol total” showed at the „11mm” Festival made also clear, why the football is considered as the „jogo bonito” in Brazil: The mischievous joy with which the „angel of crooked legs” called dribbler Garrincha curves around his opponents over and over again. Or the moment, when Pele lifting the ball over a defender in the World Cup final in 1958 and then shooting it into the goal with a volley. Moments in which the Brazilian „futebol arte” was born.

A further feature of the Canal 100 shots is that the audience is almost as often in the focus as what is happening on the pitch. People who nibble their fingernails ´cause of the excitement or lapse in ecstasy after a goal, others with perplexed expression or tears in the eyes – all them showed without comment with their rapt faces. In these pictures of sublime moments one may recall Nelson Rodrigues: In football only the ball counts? „There is nothing more unrealistic as this assertion”, countered the famous Brazilian playwright, who was also a passionate football fan. Who say this, takes „the football all his mystery, his whole pathos. The nastiest street footballer has Shakespearean dimensions. In football is the biggest blind man, who sees only the ball. What we are looking fot in football, is the tragedy, the shudder and pity.”

At the „11mm” Film Festival in Berlin two films about Pele („Isto e Pele”, 1974) and Garrincha („Alegria do Povo”, 1962) should be shown as well – documentaries about the two most important players from the golden era of the Brazilian football from the 1950s to the 1970s. That would have been also interesting to compare them with the remarkable BBC documentary „Gods of Brazil - Pele and Garrincha” (2002). In it both are portrayed to some extent as opponents: Smart Pelé as the successful „black” guy, who gets recognition from the „white” society because he adapts to their world and the empathic and fragile Garrincha as a outsider beloved of the masses, who not only perishing due to alcohol, but also ´cause the reactions of the bourgeois Brazil at the time of the military regime, when he left his wife and seven children because of the young singer Elza Soares.

However, immediately before the start of the festival the rights holders of the two films informed that they have decided to charge a fee of about 3,000 euros per performance. According to the „11mm” organizers this is not only an „excessive demand”, but also „completely beyond the financial resources” of the low-budget Festival. „Unfortunately, we were unable to dissuade the rights holders of their demand.”

Who wants to see more football films from Brazil, has to visit the World Cup host country by himself: There, the „11mm” partner Film Festival „Cinefoot” will take place before and during the World Cup at all WC cities. The „Cinefoot”-Tour starts in Rio de Janeiro from 22th to 27th of May.

Continuing to grow in its third year, the Montclair Film Festival (MFF) today announced the lineup for its 2014 edition. The announcement was made by Artistic Director Thom Powers and Executive Director Raphaela Neihausen.

The festival opens on April 28 with Chef, the new comedy directed by and starring Jon Favreau with an esteemed supporting cast that includes John Leguizamo, Sofia Vergara and Scarlett Johansson, being released nationwide in May. Special guests for opening night will be announced in coming weeks. MFF’s popular live conversation series presents eclectic guests including Kevin Smith, Michael Moore and Julie Taymor paired with Stephen Colbert.

The festival hosts six world premiere films including 1 Way Up: The Story of Peckham BMX, presented in 3D, from the executive producers behind the Oscar-winning Inocente. The lineup also has two U.S. premiere documentaries: I Am Big Bird: The Carroll Spinney Story about the 80-year-old puppeteer on Sesame Street; and Advanced Style based on the eponymous New York City photography blog focusing on fashionable older women. In addition, 56 feature length films will make their NJ premieres.

Representing MFF’s strong interest in comedy, the festival Centerpiece on May 2 is Fort Tilden, an award-winning satire of young Brooklynites, followed by a Q&A with directors Sarah-Violet Bliss, Charles Rogers, plus stars Bridey Elliott and Clare McNulty. Closing Night on May 4 features Wild Canaries, a comic mystery starring Montclair-raised Sophia Takal, who will attend.

Expanding its commitment to black cinema, MFF partners with the Blackhouse Foundation to host the annual “House Party” on May 2 and showcases a full day of conversations on May 3 with distinguished filmmakers including director Nelson George, producer Lisa Cortes, editors Sam Pollard and Lewis Erskine.

“We strive to create a festival that reflects the diversity and wide-ranging interests of our community,” said Artistic Director Thom Powers. “We have a depth of local talent in northern New Jersey, combined with visitors from New York City that make for a festival with big influence beyond this small town.”

Other highlights of this year’s festival include:

Drama section: 14 narrative films celebrated on the festival circuit, 12 of them NJ premieres. Titles include the Sundance Audience Award winner for World Cinema, Difret, set in Ethiopia, with producer Mehret Mandefro attending; and Roman Polanski’s latest Venus in Fur.

Documentary section: 13 nonfiction films spanning global topics including two US premieres (noted above). Among the 11 NJ premieres are Dinosaur 13, about the legal battle over Tyrannosaurus Rex bones, with director Todd Douglas Miller and film subject Peter Larson in person; and Ivory Tower, analyzing controversies in American higher education, followed by a conversation with director Andrew Rossi and New York Times columnist David Carr.

Black cinema: In keeping with Montclair’s African-American heritage, MFF takes a special interest in black stories and filmmakers throughout all sections of the festival. Directors in attendance include Thomas Allen Harris (Through a Lens Darkly: Black Photographers and the Emergence of a People) and Michèle Stephenson (American Promise), in addition to the special guests for the Blackhouse Foundation conversations on May 3 (listed above).

New Jersey Spotlight: This section triples in size from six feature length films in 2013 to 18 this year. Five world premieres include the comedy Jammed, produced out of Teaneck, NJ, about a couple attending a jam band festival in the woods, and Girl, Adopted by Maplewood, NJ filmmakers, following an Ethiopian orphan girl for five years after she’s adopted by an American family. MFF will screen a work-in-progress version of Althea, a documentary about tennis great Althea Gibson who lived in Essex County, NJ with director Rex Miller attending. Additionally, three programs of short films with NJ connections appear in this section.

Family section: Three presentations including a 75th anniversary screening of The Wizard of Oz, with attendees encouraged to dress as their favorite characters. This section also screens the winners of MFF’s Kidz Shortz film contest featuring short films by young directors in grades 4-12.

Themed sections: MFF has three sidebar sections. Unique to this year is a section called “Focus on Civil Rights” featuring four documentaries that deal with the legacy of the civil rights movement including the NJ premiere of Freedom Summer, timed to the 50th anniversary of the push to register black Mississippi voters in 1964. Two other sidebars return from last year: “Movie Love” features two NJ premiere documentaries, The Dog and What is Cinema? that intersect with film history; plus a retrospective screening of Network, followed by a conversation with Dave Itzkoff, author of the book Mad as Hell, moderated by Stephen Colbert. “Music on Film” contains four films including the NJ premiere of No Cameras Allowed, a documentary about sneaking into music festivals by James Marcus Haney who will attend. Oscar®-winning (and NJ-based) filmmaker Alex Gibney will be in person to present his latest, Finding Fela, about the Nigerian Afrobeat musician Fela Kuti.

Free Panels: Five free panels are open to the public. Two take place at in the pop-up storefront named the Audible Lounge: “Filming in New Jersey” on April 29 explores how NJ struggles to compete with other states that have higher tax incentives for film and TV; “The New Golden Age of TV” on April 30 looks at the rise of quality television dramas. Three free panels take place at the Montclair Public Library on May 3, including “What to Expect When You’re Expecting Film School” with filmmaker and teacher Chuck Workman leading the conversation.

MFF tickets & membership: Tickets are $14.00 for films and conversations, $12.00 for MFF Members and go on sale to the general public on Thursday, April 3 at www.montclairfilmfest.org. Special ticket prices for The Opening Night Gala film and reception, Friday Night House Party and Saturday Night Filmmaker Party. Panels are free. During the Festival, tickets are also available at the Festival’s Downtown and Uptown Headquarters and at the box office of each venue. See the website for specific locations.

MFF’s artistic director Thom Powers and executive director Raphaela Neihausen are a husband-wife team highly respected in the festival world. In addition to MFF, they also run America’s largest documentary festival DOC NYC in November and the weekly Manhattan screening series Stranger Than Fiction, both based at IFC Center. In addition, Powers is the documentary programmer for the Toronto International Film Festival in September and the online digital distribution platform SundanceNOW, curating its monthly Doc Club. The New York Times profiled Powers in 2013 calling him “a kingmaker for documentaries.”

MFF 2014 By the Numbers

This year’s Festival features six world premieres, two US premieres, 56 NJ premieres, 12 additional films, five shorts programs, four live conversations, five free panels, and two parties for a total of 92 separate presentations, an increase from 79 last year.

About MFF

Montclair Film Festival (MFF), which takes place April 28-May 4, 2013, is a community-based organization that produced its first edition in May 2012. MFF exists to nurture and showcase talented filmmakers from around the world while creating a cultural focal point in the Township of Montclair that unites, empowers, educates and celebrates our region’s diverse community and robust artistic heritage. For information about MFF, visit www. montclairfilmfest.org/. The 2014 Montclair Film Festival, a non-profit, tax-exempt 501(c)(3) organization, is made possible through generous support from Signature Sponsor Investors Bank and Presenting Sponsors Audi, Audible and the Horizon Foundation for New Jersey. Special thanks to Leadership Sponsors Chubb, Coldwell Banker Residential Brokerage and HackensackUMC/Mountainside. The festival is also supported, in part, by a Grant from the New Jersey Department of State, Division of Travel & Tourism. Additional support is provided by Neuberger Berman, RBC Wealth Management, W.H. Connolly & Co, LLC, the Montclair Cooperative School, Classic Party Rental, Franco Vitella Catered Affairs, Jersey Artisan Distilling, NJ Beer Company, Rose Brand, Aaron Morgan Imports, LLC and Wine County. Media Sponsors include NJ Monthly, NJTV, One to One, WNET, WNYC and Yelp. Thanks to Festival Partners the Montclair Art Museum, Montclair Public Library, Montclair Kimberley Academy and Montclair State University and the Friends of the Festival.

57TH SAN FRANCISCO INTERNATIONAL FILM FESTIVAL
COMPLETE PROGRAM ANNOUNCED SFIFF57 Runs April 24 - May 8

The San Francisco Film Society today announced the complete schedule of films and events that will make up the 57th San Francisco International Film Festival, running April 24 - May 8 at Sundance Kabuki Cinemas, New People Cinema and the Castro Theatre in San Francisco and the Pacific Film Archive in Berkeley.

Highlights from today's press conference included these announcements:

The SFIFF57 Centerpiece film is Palo Alto, directed by Gia Coppola and based on the collection of short stories by James Franco. Coppola is expected to attend the screening and the Centerpiece Party that follows. Read the full press release for more details.

Pixar's John Lasseter will be the recipient of the George Gund III Craft of Cinema Award, given to a worthy member of the filmmaking community for their outstanding and unique contributions to the art of cinema. Lasseter will be presented with the award at Film Society Awards Night, May 1. Read the full press release for more details.

Film historian and prolific author David Thomson will receive the Mel Novikoff Award at SFIFF57, which acknowledges an individual or institution whose work has enhanced the filmgoing public's knowledge and appreciation of world cinema. Thomson has selected Preston Sturges' The Lady Eve to screen as part of his tribute on May 4, which will also consist of an onstage conversation with author Geoff Dyer. Read the full press release for more details.

The Golden Gate Persistence of Vision Award will be given to pioneering filmmaker and installation artist Isaac Julien, with a tribute program that will include a screening of his recent work Ten Thousand Waves on April 27. The POV Award each year honors the achievement of a filmmaker whose main body of work is outside the realm of narrative feature filmmaking; crafting documentaries, short films, television, animated, experimental or multiplatform work. Read the full press release for more details.

Browse the complete list of SFIFF57 press releases here, including the previously-announced Opening Night and Closing Night programs, the tribute to Founder's Directing Award recipient Richard Linkater, the SFIFF57 Live Music & Film lineup, and more.

57th San Francisco International Film Festival
The 57th San Francisco International Film Festival runs April 24 - May 8 at the Sundance Kabuki Cinemas, Castro Theatre and New People Cinema in San Francisco and the Pacific Film Archive in Berkeley. Held each spring for 15 days, the International is an extraordinary showcase of cinematic discovery and innovation in one of the country's most beautiful cities, featuring 200 films and live events, 14 juried awards and nearly $40,000 in cash prizes, upwards of 100 participating filmmaker guests and diverse and engaged audiences with more than 65,000 in attendance.

San Francisco Film Society

Building on a legacy of more than 50 years of bringing the best in world cinema to the Bay Area, the San Francisco Film Society is a national leader in exhibition, education and filmmaker services. SFFS is headed by Executive Director Noah Cowan, with programmatic leadership by Director of Programming Rachel Rosen, Director of Education Joanne Parsont and Director of Filmmaker360 Michele Turnure-Salleo.

The Film Society presents more than 100 days of exhibition each year, reaching a total audience of more than 100,000 people. Its acclaimed education program introduces international, independent and documentary cinema and media literacy to more than 10,000 teachers and students. Through Filmmaker360, the Film Society's filmmaker services program, essential creative and business services, and funding totaling millions of dollars are provided to deserving filmmakers at all stages of their careers.

The Film Society seeks to elevate all aspects of film culture, offering a wide range of activities that engage emotions, inspire action, change perceptions and advance knowledge. A 501(c)3 nonprofit corporation, it is largely donor and member supported. Membership provides access to discounts, grants and residencies, private events and a wealth of other benefits.

The 19th Annual San Francisco Silent Film Festival Program is now online at SILENTFILM.ORG

Some highlights:

Opening Night Thursday, May 29. A commemoration of the 100th anniversary of the Great War with one of the greats of all time, The Four Horsemen of the Apocalypse, the film that made Valentino VALENTINO! Accompanied by the Mont Alto Motion Picture Orchestra who started life as Mont Alto Ragtime and Tango Orchestra 25 years ago! We look forward to their take on

The 2014 Silent Film Festival Award goes to the BFI National Film Archive. Archivist Bryony Dixon will accept the award at the Saturday afternoon screening of BFI's brilliant restoration of The Epic of Everest, the official film record of Mallory and Irvine's attempt to scale Everest. Two other treasures from BFI's vaults will grace the screen at Festival 2014: Anthony Asquith's Underground and Maurice Elvey's Sherlock Holmes feature The Sign of Four!

Amazing Tales From the Archives returns with more amazements! Bryony Dixon, Dan Streible, Craig Barron and Ben Burtt will take us on a fascinating illustrated tour of early cinema.

Preservationist and showman Serge Bromberg will share a selection from his vault of wonders, including the newly discovered version of Keaton's The Blacksmith. More shall be revealed in the program Serge Bromberg's Treasure Trove!

Once lost, now found: Ramona, a California story starring Dolores Del Rio was recently restored from materials found in the Czech National Archive. The torrid melodrama Midnight Madness was repatriated from New Zealand and preserved as part of the Save America's Treasures initiative. Our very own restoration project, The Good Bad Man with dashing Douglas Fairbanks will have its world premiere at the festival!

Most seasons of the last two decades, I have seen over 40 games in person each year. I once saw over 60.

One season, I saw U. Denver play live six times. I should point out that I live thousands of miles from Denver, in Boston, and Denver never played my favorite team that year. I saw my least favorite team play a (baker’s) dozen that same season, which is probably more than most of their fan base did.

For over ten years, I have written a well-anticipated late-season hockey blog that explains the breakdowns of who has or has not clinched seeds for, or been eliminated from, the playoffs on a game-by-game basis as the season winds down. Come national tournament time, when the country has been broken into four Regionals whose winners advance to the final Frozen Four, I have - multiple times - driven between two regionals in different states in order to catch more games.

As I said, I have watched a lot.

What does that have to do with a film festival blog?

Well, for 15 straight years, I traveled all over the country to end the season by watching the Frozen Four in person – dating back to before it was even called the Frozen Four. In that period, the event became popular enough that the NCAA had to create a lottery system to distribute tickets and fans with loyalty like mine were granted priority – a priority that grew with each year attended. I had earned my way into special privilege at a coveted event.

During that time, I also started covering film festivals for various outlets, including here on this site. The Ashland Independent Film Festival was recommended to me, but it always fell on the same week as the Frozen Four, so I had to pass.

In 2010, the calendar did me the favor of separating the two events. I figured that I could watch the Regionals locally, fly out to cover AIFF and try it out, and then watch the Frozen Four – even if it was only on TV.

I have never been back to the Frozen Four.

In fact, I really don’t even watch the games on my DVR once I get home from Ashland, since the result always leaks its way to me despite my best efforts at “radio silence” about the games. Surprisingly, I find that I don’t really care. I don't miss it at all.

That’s because AIFF is better.

It’s more fun.

The acquaintances that I made through the years at hockey event after hockey event were always welcome encounters. In Ashland, it feels like I’m reuniting with friends, the list of which grows each year. Going to the Frozen Four often meant exploring a new city. Going to Ashland is like coming back to my home town, except I only live there one week a year. Last year, I even made my “home town” Ashland paper, after being interviewed as if I were a local. The reporter didn’t know I was from across the country until the end of the interview. I guess that means I can pass as a resident after only a few festivals.

Which brings me to my sad state of affairs today.

This year, I was scheduled to speak at a conference the week of AIFF, and then end the week with a multinational tele-meeting on Friday. I have been trying to find a way to wiggle things around, but it’s just not going to happen. I find myself wistfully looking through travel websites looking for spontaneously-reduced last-minute cross-country airfares that make a two-day transcontinental trip anything but financially irresponsible – or the rationalization that will make me not care. Maybe something from Yellow Submarine’s Sea of Holes, or Doctor Who’s TARDIS, will magically appear to transport me away?

So I have to resign myself to one simple fact: I can’t go to AIFF 2014.

I don’t get to see my friends in my adopted home town, or get to make new ones. I don’t get to find Director of Programming Joanne Feinberg and ask her about the films. I don’t get to chat up the loyal staff and volunteers that - year-in, year-out - manage the queues in front of, or beside, the Varsity Theater; that manage the large crowds at the Armory; that work the concessions; that sell the tickets and the merchandise; that intro the screenings. My friend Leslie is apparently moving up the volunteer ranks and is a MOD this year. I won't get to congratulate her on that in person. I don’t get to see the same faces in the audience from one showing to the next and talk about what we’ve seen so far and what to see next. Friendly faces all.

I won’t get to make use of all the tips I’ve picked up about what to do with the schedule. Things like: Buy tickets for the award-winner showings on Monday right off the bat. Whatever they are, you’ll want to see them. If there’s anything you like in theaters 4 and 5, buy those early as those are the smallest rooms and will sell out first. Things at the Armory usually show once, but things at the Varsity mostly have multiple screenings. Use that flexibility to arrange the best schedule you can. If what you want to see is sold out, plan ahead and get into the Rush line. It’s well managed, and some number of seats usually open up for each show. The films are in blocks, so plan to get out of the theater for a break.

I won’t get to take a walk in nearby Lithia Park or stroll up to a storefront coffee shop with a walk-up service window. I won’t get to check out the Oregon Shakespeare Festival schedule to peruse this year’s creations. I won't get to hear the soothing sounds of the river flowing under the bridge as I walk up to the town plaza on my way to the Varsity.

I won’t be going to the Opening Night party and sampling the wares of the local vendors: Wine and bread. Chocolate and fruit. Jams and marshmallows. Cheese, beer, and cheese made with some of the same beer. Elk jerky. Live music and camaraderie. (What’s better than some Rogue Creamery Caveman Blue in one hand with some Rogue ale in the other – while talking about the week of films to come)?

I won’t be going to the Awards banquet either. Great food from local restaurateurs. Great company from all those who have taken part in the festival – organized, made, and/or watched - and are celebrating the shared experience.

In between those bookends, I’ll have to skip checking the sponsor schedule to see which venue is hosting which “AfterLounge” that night as a focal point for the festival community to gather. So, this year, you won’t find me walking into the Black Sheep Pub to buy a single malt for – or get one from – any of the filmmakers, nor find me in Thai Pepper for some great tapas-sized snacks, nor will I be at Standing Stone Brewing Company grabbing a burger or some pizza to go along with the in-house beer.

I don’t get to see the special events throughout the week. I’ve gotten used to discussions with each year’s invited career-achievement Award winners, like Lucy Walker, Ondi Timoner, Julie Taymor, and Harry Shearer. I won’t be chatting (for the third time this week) in the buffet queue with this year’s Rogue Award recipient, Ty Burrell, as happened for me with Morgan Spurlock when he won a few years ago. I won't share the unique blend of talk, music, and film at the event celebrating the work of Barbara Kopple.

I won’t bump into all of the returning filmmakers – because that’s what happens at AIFF. People return. If they don’t have a new film this year, maybe they’ll be a juror. Or maybe they’re back to support another friend’s film. But they come back. Hey - renowned cinematographer Gerald Hirschfeld keeps showing up to personally hand out each year's Cinematography award (that AIFF named after him) simply because he likes coming back.

But most of all, I also don’t get to see the new things this year. The new films. The new filmmakers. I won’t see the Oscar shorts. I won’t see the Locals showcase. I won’t see any of the panels. I won’t see the inventive new features. I won’t see any documentaries that move me to tears, render me speechless, or change my outlook on life.

And I still won’t get to see Ty Burrell. Really? He’s outstanding (Emmy-winning, actually) on the hilarious Modern Family and is the voice of Mr. Peabody – a brilliant, talking dog? But I’ll be in Boston instead of at the Armory – which apparently has new seats and added popcorn this year? I mean… come on!

(Sigh…)

After work tonight, I found myself going to one of my favorite local independent film houses to find something that was playing its final night of a run. I wore my AIFF hat, and it was a good movie, but it wasn’t the same. So, as I sat there by myself in the theater, I started to write this piece in my head.

I already miss experiencing AIFF 2014, and it isn’t in the past. It’s in the near future. It’s right now (April 3-7).

I can’t go to one of my favorite events of the year and do all of these things, and it makes me sad. But maybe you can – and it will make you happy. Trust me.

If you can get to Ashland, Oregon any time over the next few days, do it. You can do any of the things that I can’t there this year. Just because I’m missing out doesn’t mean you have to.

In fact, you should go.

You can ask Joanne about the movies. You can find Leslie - she'll be wearing a red scarf and helping make your audience experience run more smoothly - and tell her I said "Hi". You can see local boy Ty Burrell and hear Barbara Kopple. You can buy a thirsty filmmaker a round, make another new friend, and get your own personal Q&A. You can post a response here to let us know how the new seats at the Armory worked out. You can see great movies and meet nice people and have a lot of fun.

The honour of launching the 67th Festival de Cannes on Wednesday 14th May will fall to French actor Lambert WILSON. He will also welcome the President Jane CAMPION and her jury on to the stage at the Palais des Festivals.

Wilson’s predecessors in this role include Audrey Tautou, who enchanted the audience last year, Vincent Cassel (2006) and Edouard Baer (2008 and 2009).

Lambert Wilson will also host the prize-giving ceremony on Saturday 24th May.

The epitome of elegance, this multi-talented artist who describes himself as a "sociable hermit ", divides his time between the theatre, the cinema and singing.

In film he has excelled in the most eclectic variety of roles, crossing over easily from humour to thrillers, and from art-house to romcoms. He has worked with some of the great names in French cinema, from André Téchiné to Benoît Jacquot, and from Bertrand Tavernier to Alain Resnais.

His numerous collaborations with Resnais, including Same Old Song, Not on the Lips, Private Fears in Public Places and You Ain’t Seen Nothin’ Yet enabled him to combine two of his passions: the stage and the screen, in a cinematographic genre that was one of a kind, and unique to Resnais.

He made his first appearance in Cannes in 1985, with Rendez-vous, by André Téchiné, in which he acted alongside a young débutante named Juliette Binoche. He then returned on several occasions to the Selection, both as an actor and as President of the Jury of Un Certain Regard (1999).

On the international scene, he distinguished himself with his portrayal of the “Merovingian” in the The Matrix Reloaded and The Matrix Revolutions in 2003.

In 2010, during the 63rd Festival de Cannes, the cinema world was deeply moved by his performance in Xavier Beauvois’ Of Gods and Men, which picked up that year’s Grand Prix du Jury and for which, a few months later, he would garner the César for Best Actor.

For its 53rd edition, La Semaine de la Critique unveils its new poster, which captures the creative energy of a whole new generation of filmmakers.

Conceived by the digital agency “Les bons faiseurs“, the poster features Kate Moran, one of the stars of You and the Night, the first feature of Yann Gonzalez, discovered at La Semaine de la Critique. Posing for photographer Jean-Claude Moireau, the actress sits astride a motorbike, looking like she's ready to conquer new horizons.

Join us at La Semaine de la Critique in Cannes from 15 to 23 May to discover our new selection of ten short and ten feature films; twenty new pieces of work that bear witness to the vitality of the film industry.

The selection of the 53rd edition explained by Artistic Director Charles Tesson
will be unveiled on the website on Monday 21 April.
More details on the exact time of the announcement will be put up on our
Facebook and Twitter accounts.

The Stanley Film Festival (SFF) produced by the Denver Film Society (DFS) and presented by Chiller, announced today its full line-up and schedule. As previously announced, Doc of the Dead will open SFF. The festival, taking place April 24-27, will close with the mockumentary from Taika Waititi and Jemaine Clement (Flight of the Conchords), What We Do In The Shadows, about a house of vampires trying to get back in touch with modern society. Throughout the four-day celebration of the best in horror cinema, SFF will showcase a full slate of features, shorts, panels, special events and awards presentations at the historic haunted Stanley Hotel in Estes Park, Colorado.

The Stanley Film Festival is honored to welcome the founders of SpectreVision, Elijah Wood, Daniel Noah and Josh Waller to accept the Visionary Award for their contribution to independent film. Founded in 2010, SpectreVision is a film production and music management company created to tell heartfelt, character-driven stories tackling real, emotional and social issues that test the boundaries of the horror genre. The Visionary Award presentation will be followed by a screening of SpectreVision's executive produced film, Open Windows, an otherworldly new thriller which stars Wood.

"The Stanley Film Festival is about showcasing horror films that not only scare and entertain, but seek to elevate the genre," said Denver Film Society Festival Director Britta Erickson. "SpectreVision has broken onto the scene in a fantastic fashion an is leading the industry by producing films that feed the horror audience the type of genre fare they crave. We are thrilled to honor them with our second annual Visionary Award."

In addition to the Visionary Award presentation and screening of Open Windows, SFF will spotlight SpectreVision's wide-ranging influence in the industry with a panel highlighting the combined vision of Elijah Wood, Daniel Noah and Josh Waller as they talk about their recent productions - Cooties and A Girl Walks Home Alone At Night - which both premiered at the 2014 Sundance Film Festival, as well as new and upcoming projects including The Boy. SpectreVison will also present a specially curated retrospective screening of Who Can Kill A Child? and the dynamic trio will also treat festival-goers to special guest DJ sets.

"This has been a tremendous year for horror cinema. We're especially honored to showcase some the world's finest new features, time honored staples of the genre presented by special guests and a truly innovative slate of short films," said Zakheim.

Dead Snow: Red vs. Dead - Norway/Iceland/2014 - (Director: Tommy Wirkola, Featuring Vegar Hoel, Martin Starr, Jocelyn DeBoer, Ingrid Haas) - In the follow up to his cult hit, director Tommy Wirkola brings back Colonel Herzog to lead his Nazi zombie army on their unholy quest. Although this time, a Russian battalion is wakened for the fight.

Doc of the Dead - USA/2014 - (Director: Alexandre O. Philippe, Featuring George Romero, Simon Pegg, Bruce Campbell, Max Brooks, Tom Savini, Greg Nicotero, Robert Kirkman)- Could there be a real zombie outbreak? If so, Doc of the Dead can help you prepare. This definitive guide to all things undead delves deep into the evolution of the zombie genre in film and literature, as well as its impact and influence on pop culture, to deliver a comprehensive, fast-paced, highly entertaining look at a contemporary social pandemic of global proportions.

Housebound - New Zealand/2014 - (Director: Gerard Johnstone, Featuring Morgana O'Reilly, Rima Te Wiata, Glen-Paul Waru) -An unruly hooligan sentenced to house arrest at her childhood home must contend with her family, police-handlers and the spectral frights that may be haunting the property in this tautly written comedy-thriller.

Lesson Of The Evil - Japan/2012 - (Director: Takashi Miike, Featuring Ruth Sundell, Takayuki Yamada,Fumi Nikaidô) -The notorious and prolific Takashi Miike (Audition, Ichi The Killer), one of the living legends of genre, tackles his most controversial subject matter yet in this story of a charismatic teacher with an extreme and violent plan to stop the rash of bullying at his school.

Moebius - South Korea/2013 - (Director: Kim Ki-duk Featuring Jae-hyeon Jo, Eun-woo Lee, Young-ju Seo ) - Kim Ki-duk's Freudian breakdown of the family unit sees a wife take revenge upon her adulterous husband by dismembering their son. And then things really take a turn to the extreme as the family falls into complete destruction.

Nothing Bad Can Happen - Germany/2013 - (Director: Katrin Gebbe, Featuring Julius Feldmeier, Sascha Alexander Gersak, Annika Kuhl, Swantje Kohlhof) - Christian devotee Tore has his faith put to the ultimate test after moving in with a religious skeptic and his family. This tension building game of cruelty explores just how often one can turn the other cheek.

the producers of Cheap Thrills and Jorodowsky's Dune, struggling actress Sarah will give anything to land her dream role in cutthroat Hollywood. But when a storied production company gives her that chance, she learns the true cost of fame.

Witching and Bitching - Spain/2013 - (Director: Alex De La Iglesia, Featuring Hugo Silva, Mario Casas, Pepón Nieto, Carolina Bang) - Cult director Alex De La Iglesia (The Last Circus) is in top form with this hilarious and gory tale of thieves who find themselves in over their heads when faced with a coven of bloodthirsty witches.

What We Do In The Shadows - New Zealand/2014 - (Directors: Taika Waititi & Jemaine Clement, Featuring Taika Waititi, Jemaine Clement, Jonathan Brugh) - Living with roommates can always pose quirky challenges. But when you're a vampire cohabitating with your fellow kind for a few hundred years, things get a bit tricky. From Taika Waititi and Jemaine Clement (Flight of the Conchords) comes a hilarious mockumentary of a house of vampires trying to get back in touch with modern society.

Who Can Kill A Child? - Spain/1976 - (Director: Narciso Ibáñez Serrador, Featuring Lewis Fiander, Prunella Ransome, Antonio Iranzo, Miguel Narros) -Presented by SpectreVision, in cooperation with Channel Z, this rarely seen Spanish horror finds an English couple vacationing on an island where the children are murdering all the adults.

SECRET SCREENING: The Stanley Film festival presents a highly anticipated new film from a modern master of gore.

The Fall of the House of Usher - France/USA/1928 - (Director: Jean Epstein, Featuring Jean Debucourt, Marguerite Gance, Charles Lamy, Fournez-Goffard) - Silent film with live score. Based on the works of Edgar Allen Poe, this rarely seen macabre silent film continues the Festival's tradition of live score accompaniment to horror of the past.

Sleepwalkers - USA/1992 - (Director: Mick Garris, Featuring Brian Krause, Mädchen Amick, Alice Krige, Jim Haynie, Ron Perlman, Cindy Pickett) -Mick Garris ("The Shining" and "The Stand" and "Masters of Horror") presents his Stephen King penned cult favorite. A mother and son who are not what they seem move to a new town in order to feed.

To celebrate the 40th anniversary of this beloved horror classic, MPI Media Group presents the original film restored from an all-new 4k scan authorized by director Tobe Hooper and featuring a dynamic new 7.1 surround sound mix.

JONATHAN'S CHEST, USA, directed by Christopher Radcliff: Everything changes one night for Alex, a troubled teenager, when he is visited by a boy claiming to be his brother -- who disappeared years earlier. UNICORN BLOOD, Spain, directed by Alberto Vazquez: Two teddy-bears go hunting unicorns, for their tender flesh and delicious blueberry-flavoured blood which the bears need to stay cute-looking. ANIMALS I KILLED LAST SUMMER, Sweden, directed by Gustav Danielsson: A young boy kills small animals and his father can't deal with it. GHOST TRAIN, Australia, directed by James Fleming and Kelly Hucker: An elderly man struggling to cope with his wife's dementia is drawn into a macabre cabaret restaurant where he becomes enchanted by the lead actress. KEKASIH, USA/Malaysia, directed by Diffan Sina Norman: In pursuit of his late wife, a botanical professor encounters a divine presence that will transform him forever. BOX ROOM, Ireland, directed by Michael Lathrop: Behind Jerry's bedroom wall he discovers a seductive alien creature with which he has sex, leading to a horrific outcome. FLESH, Colombia, directed by Carlos Gómez Salamanca: FLESH reveals the sacrifice of an animal during a countryside celebration in Colombia. THE OBVIOUS CHILD, UK, directed by Stephen Irwin: Somebody broke the girl's parents. The rabbit was there when it happened. It was an awful mess.

Shorts Program II

HERE BE MONSTERS, New Zealand, directed by Paul Glubb and Nic Gorman: He only has one chance to live the last day of his life. BASKIN, Turkey, directed by Can Evrenol: Four cops, go to hell. THE PRESENT, Taiwan, directed by Joe Hsieh: A hotel manager's daughter falls for a married man at first sight. Rejected by the man, she embarks on a journey of revenge. THE GUEST, Canada, directed by Jovanka Vuckovic: In this existential thriller, a man must face the consequences of a mysterious bargain he has made. WHITE MORNING, UK, directed by Paul Barritt: Six naughty boys carry out an act of violence exploding into a visual investigation of the war machine the boys become. WAWD AHP, USA, directed by Steve Girard: A man raps in front of the mirror, cuts his head off and has sex with it. There is also a cartoon. ANGST, PISS & SHIT, Norway, directed by Fredrik S. Hana: A young couple that once shared a fascination for mass murder and torture, now resemble a sad and lifeless parody on relationships. PERFECT DRUG, Belgium, directed by Toon Aerts: A heist of strange chemical substances goes wrong when one of the thieves can't resist drinking the glowing elixir.

Shorts before features

STARRY EYES

THE MUCK, USA, directed by Tony Wash: Laverne arrives home and decides to relax in the bathtub. She strips down, settles into the tub, and closes her eyes. Serenity at last... or so she thought!

LATE PHASES

PAYADA PA' SATAN, Argentina, directed by Antonio Balseiro and Carlos Balseiro: A Gaucho lives peacefully in the countryside with his wife until one day they hear explosions and the earth starts to shake.

NIGHTMARE BEFORE CHRISTMAS

TOY STORY OF TERROR!, USA, directed by Angus MacLane: From Disney*Pixar comes a spooky new tale featuring all of your favorite characters from the "Toy Story" films.

IMPORTANT DATES:

April 10: Press Accreditation closes

April 24: Festival Begins

To keep up to date with the Stanley Film Festival visit www.stanleyfilmfest.com, "Like" SFF on Facebook (Facebook.com/StanleyFilmFest), "Follow" SFF on Twitter and Instagram (@StanleyFilmFest), join the conversation using the hashtag #StanleyFilmFest

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Stanley Film Festival:

Set at the notoriously haunted and historic inspiration for Stephen King's THE SHINING, The Stanley Film Festival showcases the best in classic and contemporary horror cinema at the Stanley Hotel in beautiful Estes Park, Colorado. Operated by the Denver Film Society, the festival is a labor of love dedicated to crafting a more interactive experience for genre filmmakers and fans. Presenting emerging artists and established luminaries within the genre, the four-day event features live shows, installations, industry panels, the "Stanley Dean's Cup" student film competition, and spooky secrets within a frightening, yet elegant atmosphere that can function as a true horror summit for all.

The Stanley Hotel: Famous for its old world charm, The Stanley Hotel boasts spectacular views in every direction and is less than six miles from Rocky Mountain National Park. Multi-million dollar renovations have restored this 155-guestroom hotel to its original grandeur. Listed on the National Register of Historic Places and member of Historic Hotels of America; only an hour away from Denver, it is ideal destination for a Colorado getaway.

The Stanley Hotel opened in 1909 and it was just two years later that chief housekeeper Elizabeth Wilson was injured in an explosion while she was lighting acetylene lanterns in room 217. She survived the incident, but guests have reported sensing her presence in the room ever since. Other guests have reported lights flicking on and off, doors opening and closing and laughter and footsteps when no one else is around in other rooms and facilities throughout the hotel. The Stanley Hotel is consistently ranked the #1 haunted hotel in the world.

is an entertainment brand dedicated to delivering round-the-clock scares with its commitment to producing diverse and high-quality horror content. Chiller's eclectic slate of adrenaline-fueled, soul-stirring entertainment includes a broad offering of original movies and specials, genre films, documentary and reality shows (Fear Factor) and some of the most thought-provoking and suspenseful series ever on television (The River, Dead Like Me, Tales from the Darkside, Outer Limits). With its recently-created Chiller Films initiative, Chiller also produces feature films for select theaters and On-Demand. Chiller network is currently available in over 42 million homes. To learn more, visit: www.chillertv.com. Chiller. Scary Good.

The Denver Film Society: Founded in 1978, the Denver Film Society (DFS) is a membership-based, 501(c)(3) nonprofit cultural institution that produces film events throughout the year, including the award-winning Starz Denver Film Festival and the popular, summertime series Film on the Rocks. With a vision to cultivate community and transform lives through film, the Film Society provides opportunities for diverse audiences to discover film through creative, thought-provoking experiences.

The permanent home of the Denver Film Society, the Sie FilmCenter, is Denver's only year-round cinematheque, presenting a weekly-changing calendar of first-run exclusives and arthouse revivals both domestic and foreign, narrative and documentary - over 600 per year, all shown in their original language and format. DFS's one-of-a-kind programs annually reach more than 200,000 film lovers and film lovers-in-training.

Grand Heritage Hotel Group: Founded in 1989 by John Cullen, Grand Heritage Hotel Group is one of the nation's premier owner operators of independent luxury hotels and resorts. Its properties are sought-after destinations that offer consistent luxury, quality and exceptional surroundings. Several Grand Heritage properties enjoy prestigious distinction as designated Historic Hotels of America. The company prides itself on the vision and strategic expertise of its leadership. Highly innovative and experienced professionals collectively boast more than 50 years of hands-on experience in all aspects of the hotel and hospitality business and are recognized for imaginative and entrepreneurial style. Grand Heritage owns and operates hotels in North America; it also operates Grand Heritage Hotels International Brand, which has a number of properties in Europe, The Middle East, India and North Africa.

The short film Berlin Beirut (directed by Lebanese filmmaker Myrna Maakaron) won the first ‘Berlin Today Award’ back in 2004, this year the connection between Berlinale and Beirut will be further strengthened through the inaugural edition of Talents Beirut. The programme will invite about 15 promising Arab cinematographers, editors and sound designers/score composers to take part in a four-day programme of master classes and workshops and will be held from September 18-21, 2014. Expanding in the Middle East and Northern Africa, Talents Beirut will be part of the international network of Talents initiatives aiming to support and connect emerging filmmakers worldwide, linking to the range of programmes and platforms the Berlin International Film Festival annually offers.

Talents Beirut is an initiative of Metropolis Art Cinema in Beirut and the Goethe-Institut Lebanon in cooperation with Berlinale Talents and FIDMarseille.

“Strong films from the Arab world in the past years have proven to be essential in understanding this region of the world”, commented Berlinale director Dieter Kosslick. “Talents Beirut will focus on an often disregarded group of film professionals, who nevertheless define the image and sound of stories coming from the Middle East and Northern Africa. This project will intensify film relations with the Middle East and Northern Africa in the future”.

The director of Talents Beirut, Hania Mroué, said “The partnership with key partners like Berlinale Talents in Germany and FIDMarseille in France, and the ongoing support of the Goethe-Institut offers a unique opportunity to help develop a strong new generation in the Arab film industry.”

Programme details, experts, and selected participants will be announced in summer. For more information, go to:

A jury will choose the winning posters for each section amongst the all the finalist selected on April 2. On April 4 the decision will be communicated to the winners.

The decision will be publicly announced at a press conference called by the San Sebastian Festival on 9 May. At this press conference, all of the prize-winning works will be presented to the media. That the same day, the announcement will be published on the Festival and specific competition sites.

The 2014 Festival features 25 full length films from all over Asia and the Middle East, as well as two shorts. From a strong Japanese samurai epic, to family films from India, and the horror thrillers from South Korea, the festival has become known for films representing Taiwan, the Philippines, Iran, Sri Lanka, China, and a host of other nations.There will be 47 showings at 4 locations in the city: the Regent Square Theater, the Melwood Screening Room, the Carnegie Museum of Natural History's Earth Theater, and the new location this year is the Waterworks Cinema. Detailed information

Opening Film: "Omar"

Saturday, 7 PM

Regent Square Theater

$20 (passes not accepted)

In Palestine's first Oscar nominated film; all is fair in love and war. No film in recent memory unpacks this cynical, familiar sentiment with as much gusto and truth as Omar. Omar (Adam Bakri) is an uncomplicated baker in love with his childhood friend Tarek's (Iyad Hoorani) sister. So, Omar is a love story? Or is it a war story? A political statement? Like the enormous border wall at the heart of Hany Abu-Assad's thrilling story, the truth is somewhere in between.

What if you were given a set of guidelines, a recipe for healing? What if you were given a set of steps that, if followed to the letter, could guarantee a happy outcome for your life?

Father and daughter, Ryohei (Renji Ishibash)and Yuriko (Hiromi Nagasaku) are left bereft after family upheaval- including the loss of Otomi-Ryohei's wife and Yuriko's mother. But Otomi has left behind a recipe book- for cooking, cleaning, and nurturing one's way to a fulfilling life. What starts out as a simple family melodrama develops into a meditation on family, connection, grief, and ultimately- healing.

Don't miss the chance to experience one of the region's most colorful parties! The gala features ethnic dress, exotic Asian dishes and exciting performances by Pittsburgh's premiere Asian American entertainers.Get down with Pittsburgh's hottest D. J, Pandemic Pete! Enjoy drinks and deserts from some of your favorite local bakeries during the late night party. Check out D.J,Pete's website

Ludwigsburg, April, 9, 2014. Europe's most renowned conference for the makers of the digital entertainment industry is proud to welcome the world-famous and foremost "performance-capture" pioneer and actor Andy Serkis to Stuttgart. Andy Serkis' presentation is one of this year's highlighted keynotes at FMX 2014.

Please find further information on the full program online. Press accreditation is possible via the press section on the FMX website.

The presentation "Early Look at Dawn of the Planet of the Apes"

Andy Serkis has advanced the craft of performance capture, where an actor's movements and expressions are recorded and translated to form the performance used by animators to bring a digital character to life. He is best-known for his motion capture acting and voice work for CG characters such as Gollum in Peter Jackson's The Lord of the Rings trilogy and most recently The Hobbit - An Unexpected Journey. At FMX he provides an "Early Look at Dawn of the Planet of the Apes" for which Weta Digital are again handling the visual effects.

Andy Serkis - Personal details

Andy Serkis is an award-winning actor who has earned acclaim from both critics and audiences for his work in a range of memorable roles. He gained legions of fans around the globe for his performance as Gollum in the Academy Award®-winning The Lord of the Rings trilogy, directed by Peter Jackson. Serkis won an Empire Award for his role, in addition to sharing in several Outstanding Ensemble Cast Awards, including a Screen Actors Guild Award®. Reuniting with Jackson, he played two roles in the director's epic retelling of King Kong. Serkis' ability to exhaust the possibilities of motion capture to create a nuanced, believable character recently earned him the CinemaCon Vanguard Award that is bestowed by CinemaCon.

Serkis recently announced that he will be directing an adaptation of Richard Kipling's The Jungle Book for Warner Bros. He served as 2nd Unit Director on Peter Jackson's The Hobbit trilogy (most recently, The Hobbit: The Desolation of Smaug) and reprised the role of Gollum in The Hobbit: An Unexpected Journey. In October 2012, Serkis announced the acquisition of two projects that will be produced by his London based performance capture studio, The Imaginarium: The Bone Season, which Serkis will direct. Other recent credits include a starring role as Captain Haddock in The Adventures of Tintin, from director Steven Spielberg and had co-starring roles in Death of a Superhero and Brighton Rock. In 2010, Serkis received critical acclaim and accolades for his portrayal of punk-rock legend Ian Dury in the film Sex & Drugs & Rock & Roll for director Mat Whitecross which earned him a BAFTA nomination for Best Actor.

His further filmography includes roles in Burke & Hare, the BBC miniseries Little Dorrit, the BBC/HBO production of Einstein and Eddington, Golden Globe and BAFTA TV Award nominations for his performance in HBO's Longford, Oliver Twist, Christopher Nolan's The Prestige and many more. An accomplished stage actor, Serkis has received acclaim for his work on the stages of London and across the United Kingdom where he also made his directorial debut with the play The Double Bass at London's Southwark Playhouse. As a director, Serkis also helmed the award-winning Heavenly Sword™ for PLAYSTATION®3 and Enslaved: Odyssey to the West for Namco Bandai Games. In addition, he wrote and directed a short film called Snake, starring his wife, Lorraine Ashbourne and Rupert Graves.

In Dawn of the Planet of the Apes, a growing nation of genetically evolved apes led by Caesar is threatened by a band of human survivors of the devastating virus unleashed a decade earlier. They reach a fragile peace, but it proves short-lived, as both sides are brought to the brink of a war that will determine who will emerge as Earth's dominant species. Dawn of the Planet of the Apes will release in Germany in theatres on August 7, 2014.

The line up of the 16th Far East Film Festival (Udine, April 25 – May 3) was released to the press today. The 2014 edition (which will present 60 titles) will open with the international premiere of Aberdeen, the new masterpiece by Pang Ho-cheung. The Closing Film of the festival, screened on May 3, will be the sequel of Thermae Romae, also an international premiere. In attendance at the Press Conference: Gianni Torrenti, Regional Councillor for Culture, Mayor of Udine Furio Honsell, and Paolo Vidali, President of FVG Audiovisual Fund.

Cine Las Americas announced today the full list of films that will screen during the 17th Cine Las Americas International Film Festival, which runs April 22-27, 2014.

The Marchesa Hall and Theater, Austin Film Society's new home for classic, independent and art house film programming, will feature Opening and Closing nights, international new releases, and 'Hecho en Tejas,' a rich selection of films made in Texas.

Marchesa will also host a retrospective of films by pioneer Mexican American filmmaker Efraín Gutiérrez. A native of west San Antonio, Guriérrez single-handedly won a place in Texas cinemas for Chicano films during the seventies. The director, actor, writer and producer will be in attendance for the screening of three feature films and one short documentary, presented in restored archival 35mm prints.

The Alamo Drafthouse Village will be home for the festival with two auditoriums, screening the full Narrative Competition lineup including twelve feature films and as many short films. New Releases and films screening in the official selection of the program will complement this schedule. The Village allows for festival goers to decide between multiple screenings and reprisals, and selected screenings will have directors and talent in attendance.

This year marks the second year for The Knoxville Film & Music Festival and the fifth year for the Knoxville 24 Hour Film Festival, events that drew 5,400 people to downtown Knoxville last year. To celebrate, Knoxville Film & Music Festival has greatly expanded its student offerings for 2014.

In prior years the festival had limited space available for students, but for 2014 the festival has created three all new events for students from 3 to 17 years of age. The largest expansion is the creation of the "Knoxville 24 Hour Student Competition", a completely separate 24 Hour Festival for up to 30 student teams (for students ages 6 - 17).

Registration for the Knoxville 24 Hour Student Competition will take place beginning May 3 at Scruffy City Hall (32 Market Square in downtown Knoxville). The registration process begins with registration from 1-3 p.m. followed by a workshop from 3-4 p.m. The afternoon will wrap up with a Crew and Casting Call Mixer open to all participants from 4-6 p.m. Student registration for the Knoxville 24 Hour Student Competition is $20.

The student teams will receive their "secret elements" that must be contained in their film on May 31 at Market Square (one hour before the regular competition gets underway). The Student Knoxville 24 Hour Film Festival films will screen on Saturday, June 14 at 1 p.m. at the historic Bijou Theatre on Gay Street. The screening will be a family-friendly event — open to the public— and a great way for movie fans of all ages to spend an afternoon.

Also new to the 2014 Knoxville Film & Music Festival is a "Best of Fest Film Competition", where the top film will win $1,000 and the Best Tennessee Film will receive $500. Submissions have already come in from around the world and throughout the United States. Students receive a discounted submission fee and will have their own award category while still being eligible for the top prizes. The Best of Fest Film Competition screenings will take place at Scruffy City Hall June 11-13. These screening will range from PG to R ratings for those 18 and up.

“Young filmmakers have been getting noticed at the Knoxville 24 Hour Film Festival and go on to find meaningful employment in Knoxville," said Festival Director Michael Samstag. "Expanding the festival to include more students will help develop the next wave of talented young professionals for the Knoxville production community. We cannot wait to see what these young filmmakers come up with this year."

The 2014 Knoxville Film Festival runs June 6-14. A celebration of film and music, the Knoxville Film & Music Festival (KFMF) features a 24-hour film competition, live musical performances, and World Premier screenings. The festival is conveniently located in the epicenter of the Downtown Knoxville Renaissance, on Historic Market Square, where cafes, street musicians, magicians and shops keep our festival company. The 2014 home of the KFMF is Scruffy City Hall, a 150 seat Cine-Pub featuring a gorgeous screening facility and delicious craft beers.